- The Oxford Handbook of the Literature of the U.S. South
- Literary and Textual Histories of the Native South
- Before Hypodescent: Whitening Equations in South America and the American South
- The Dying Confession of Joseph Hare: Transatlantic Highwaymen and Southern Outlaws in the Antebellum South
- Jackson’s Villes, Squares, and Frontiers of Democracy
- Locality and the Serial South
- The Long Shadow of Torture in the American South
- Masculine Sentiment, Racial Fetishism, and Same-Sex Desire in Antebellum Southern Literature
- Southern Affects: Field and Feeling in a Skeptical Age
- Not-So-Still Waters: Travelers to Florida and the Tropical Sublime
- Indian Knives and Color Lines: Mark Twain from Hannibal to the Jim Crow Raj
- Narrative and Counternarrative in <i>The Leopard’s Spots</i> and <i>The Marrow of Tradition</i>
- The Bright Side: African American Women and the Affective Archive of Southern Racial Uplift
- “Proffered for Your Perusal in Ring by Concentric Ring”: The South and the World in William Faulkner’s Fiction
- Richard Weaver, Lillian Smith, the South, and the World
- Arts of Abjection in James Agee, Walker Evans, and Luis Buñuel
- Tennessee Williams and the Burden of Southern Sexuality Studies
- Reimagining the South of Richard Wright: The Anti-Protest Writing of Albert Murray, Raymond Andrews, and Ernest Gaines
- Letter-Writing, Authorship, and Southern Women Modernists
- Nature and Spirituality in Contemporary Appalachian Poetry
- Southern Religion’s Sexual Charge and the National Imagination
- Their Confederate Kinfolk: African Americans’ Interracial Family Histories
- Mourning, Mockery, and the Post-South in Lars von Trier’s <i>Manderlay</i> and Geraldine Brooks’s <i>March</i>
- Made Things: Structuring Modernity in Southern Poetry
- Four Contemporary Latina/o Writers Ghost the U.S. South
- You Don’t Have to Be Born There: Immigration and Contemporary Fiction of the U.S. South
- Asian Americans, Racial Latency, Southern Traces
- The Woundedness of Southern Literature, Looking Away
Abstract and Keywords
The collected letters of Flannery O’Connor, Katherine Anne Porter, Lillian Smith, and Zora Neale Hurston reveal that these southern modernists were keenly aware of the ways in which letters could be used—if not immediately, then at least eventually—to position their work within the cultural currents of their time. Through their letters, these writers stage-managed their careers, making it possible for descendants and contemporary readers to ponder their interactions with agents and publishers, their alliances with other writers, their reflections on the region that fueled their work, and their desire—expressed ardently on the part of each—to be read and judged as artists who pursued their own visions. Each writer used the letter as a means of self-performance and as a way to maintain a shaping voice in the discourse of their critical reputations.
Will Brantley is Professor of English at Middle Tennessee State University where he teaches southern literature, modern American literature, and film studies. His published work has focused on women writers of the American south and includes Feminine Sense in Southern Memoir: Smith, Glasgow, Welty, Hellman, Porter, and Hurston (UP of Mississippi, 1993), which received the Eudora Welty Prize for an interpretive work in modern letters.
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